The two tools that I am using to evaluate all my pages for accessibility issues are Wave and Lighthouse.
For some reasons I am really having trouble with this assignment to try and understand of the report and what I should do to correct them. Even from the reading I am just having difficulties to understand the full context of what exactly is a site accessibility compatible. Every single pages of the site have some type of problems and at this point I just don’t know how to go about fixing them to make it accessibility compatible. For example, the Wave report for the about page have errors from contrast to structural to ARIA. When I go to the details of trying to understand what are these errors and I just simply can’t grasp what am I supposed to fix to correct these errors. It would be great if there is an example for me to see the differences between the errors and the recommended changes to improve the site.
The two changes that I made to each page are adding text and link to the footer of the page for Twitter, Facebook, and Github logos to allow user access to each site. The other changes is making sure each image have accessible link to the site if it is applicable and text. I will need to spend more time on this topic to really get a better understanding of all of these errors from these tools and how to apply all the fixes to make the site better.
Images of before and after fixes


Ext.NET Mobile
4.1.0
.NET Component Framework for Enterprise Level Apps
Ext.Net.Mobile.ILayout Interface Reference
More...
Inheritance diagram for Ext.Net.Mobile.ILayout:
Detailed Description
The documentation for this interface was generated from the following file:
Interfaci/ILayout.cs
Ext
Net
Mobile
ILayout
Generated by
1.8.13


user features ({$ features.user.length $})
sort by:
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#
{$ code.index $}
{$ feature.feature $} ({$ feature.count $})
{$ code.index $}
system features ({$ features.system.length $})
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Show Review


| sound_variable - and valid variable previously created with the LoadSound command. |
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When you are finished using a sound effect, you should free up the memory its using and delete the sound. This command will delete a sound instance variable created with the LoadSound command.
Why would you want to do this? Perhaps you have different sets of sounds for different levels of your game? Perhaps your music loop changes from level to level. You want to do the RIGHT thing and manage your own resources. Just because you CAN load every sample for the whole game at once, consider someone that doesn't have as much memory as you do. You want to ensure that your game appeals to the widest audience possible. Note: You don't have to manually free these resources when your program terminates - Blitz does this automatically. |
|
; Load a sound into memory
sndOneUp=LoadSound("audio1up.wav") ; Free the memory up and delete the sound FreeSound sndOneUp |


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Tik-Tok of Oz
by L. Frank Baum
Chapter 13: “The Jinjin’s Just Judgment”
Additional Information
- Year Published: 1914
- Language: English
- Country of Origin: United States of America
- Source: Baum, L. F. (1914). Tik-Tok of Oz. Chicago: Reilly and Britton.
-
Readability:
- Flesch–Kincaid Level: 7.0
- Word Count: 2,993
- Genre: Fantasy
- Keywords: 20th century literature, american literature, books of oz, children's literature, fantasy, l. frank baum
- ✎ Cite This
Downloads
All the adventurers were reunited next morning when they were brought from various palaces to the Residence of Tititi-Hoochoo and ushered into the great Hall of State.
As before, no one was visible except our friends and their escorts until the first bell sounded. Then in a flash the room was seen to be filled with the beautiful Kings and Queens of the land. The second bell marked the appearance in the throne of the mighty Jinjin, whose handsome countenance was as composed and expressionless as ever.
All bowed low to the Ruler. Their voices softly murmured: “We greet the Private Citizen, mightiest of Rulers, whose word is Law and whose Law is just.”
Tititi-Hoochoo bowed in acknowledgment.
Then, looking around the brilliant assemblage, and at the little group of adventurers before him, he said:
“An unusual thing has happened. Inhabitants of other lands than ours, who are different from ourselves in many ways, have been thrust upon us through the Forbidden Tube, which one of our people foolishly made years ago and was properly punished for his folly. But these strangers had no desire to come here and were wickedly thrust into the Tube by a cruel King on the other side of the world, named Ruggedo. This King is an immortal, but he is not good. His magic powers hurt mankind more than they benefit them. Because he had unjustly kept the Shaggy Man’s brother a prisoner, this little band of honest people, consisting of both mortals and immortals, determined to conquer Ruggedo and to punish him. Fearing they might succeed in this, the Nome King misled them so that they fell into the Tube.
“Now, this same Ruggedo has been warned by me, many times, that if ever he used this Forbidden Tube in any way he would be severely punished. I find, by referring to the Fairy Records, that this King’s servant, a nome named Kaliko, begged his master not to do such a wrong act as to drop these people into the Tube and send them tumbling into our country. But Ruggedo defied me and my orders.
“Therefore these strangers are innocent of any wrong. It is only Ruggedo who deserves punishment, and I will punish him.” He paused a moment and then continued in the same cold, merciless voice:
“These strangers must return through the Tube to their own side of the world; but I will make their fall more easy and pleasant than it was before. Also I shall send with them an Instrument of Vengeance, who in my name will drive Ruggedo from his underground caverns, take away his magic powers and make him a homeless wanderer on the face of the earth—a place he detests.”
There was a little murmur of horror from the Kings and Queens at the severity of this punishment, but no one uttered a protest, for all realized that the sentence was just.
“In selecting my Instrument of Vengeance,” went on Tititi-Hoochoo, “I have realized that this will be an unpleasant mission. Therefore no one of us who is blameless should be forced to undertake it. In this wonderful land it is seldom one is guilty of wrong, even in the slightest degree, and on examining the Records I found no King or Queen had erred. Nor had any among their followers or servants done any wrong. But finally I came to the Dragon Family, which we highly respect, and then it was that I discovered the error of Quox.
“Quox, as you well know, is a young dragon who has not yet acquired the wisdom of his race. Because of this lack, he has been disrespectful toward his most ancient ancestor, the Original Dragon, telling him once to mind his own business and again saying that the Ancient One had grown foolish with age. We are aware that dragons are not the same as fairies and cannot be altogether guided by our laws, yet such disrespect as Quox has shown should not be unnoticed by us. Therefore I have selected Quox as my royal Instrument of Vengeance and he shall go through the Tube with these people and inflict upon Ruggedo the punishment I have decreed.”
All had listened quietly to this speech and now the Kings and Queens bowed gravely to signify their approval of the Jinjin’s judgment.
Tititi-Hoochoo turned to Tubekins.
“I command you,” said he, “to escort these strangers to the Tube and see that they all enter it.”
The King of the Tube, who had first discovered our friends and brought them to the Private Citizen, stepped forward and bowed. As he did so, the Jinjin and all the Kings and Queens suddenly disappeared and only Tubekins remained visible.
“All right,” said Betsy, with a sigh; “I don’t mind going back so very much, ‘cause the Jinjin promised to make it easy for us.”
Indeed, Queen Ann and her officers were the only ones who looked solemn and seemed to fear the return journey. One thing that bothered Ann was her failure to conquer this land of Tititi-Hoochoo. As they followed their guide through the gardens to the mouth of the Tube she said to Shaggy:
“How can I conquer the world, if I go away and leave this rich country unconquered?”
“You can’t,” he replied. “Don’t ask me why, please, for if you don’t know I can’t inform you.”
“Why not?” said Ann; but Shaggy paid no attention to the question.
This end of the Tube had a silver rim and around it was a gold railing to which was attached a sign that read.

IF YOU ARE IN, DON’T COME OUT.”
On a little silver plate just inside the Tube was engraved the words:
“Burrowed and built by
Hiergargo the Magician,
In the Year of the World
1 9 6 2 5 4 7 8
For his own exclusive uses.”
“He was some builder, I must say,” remarked Betsy, when she had read the inscription; “but if he had known about that star I guess he’d have spent his time playing solitaire.”
“Well, what are we waiting for?” inquired Shaggy, who was impatient to start.
“Quox,” replied Tubekins. “But I think I hear him coming.”
“Is the young dragon invisible?” asked Ann, who had never seen a live dragon and was a little fearful of meeting one.
“No, indeed,” replied the King of the Tube. “You’ll see him in a minute; but before you part company I’m sure you’ll wish he was invisible.”
“Is he dangerous, then?” questioned Files.
“Not at all. But Quox tires me dreadfully,” said Tubekins, “and I prefer his room to his company.
At that instant a scraping sound was heard, drawing nearer and nearer until from between two big bushes appeared a huge dragon, who approached the party, nodded his head and said: “Good morning.”
Had Quox been at all bashful I am sure he would have felt uncomfortable at the astonished stare of every eye in the group—except Tubekins, of course, who was not astonished because he had seen Quox so often.
Betsy had thought a “young” dragon must be a small dragon, yet here was one so enormous that the girl decided he must be full grown, if not overgrown. His body was a lovely sky-blue in color and it was thickly set with glittering silver scales, each one as big as a serving-tray. Around his neck was a pink ribbon with a bow just under his left ear, and below the ribbon appeared a chain of pearls to which was attached a golden locket about as large around as the end of a bass drum. This locket was set with many large and beautiful jewels.
The head and face of Quox were not especially ugly, when you consider that he was a dragon; but his eyes were so large that it took him a long time to wink and his teeth seemed very sharp and terrible when they showed, which they did whenever the beast smiled. Also his nostrils were quite large and wide, and those who stood near him were liable to smell brimstone—especially when he breathed out fire, as it is the nature of dragons to do. To the end of his long tail was attached a big electric light.
Perhaps the most singular thing about the dragon’s appearance at this time was the fact that he had a row of seats attached to his back, one seat for each member of the party. These seats were double, with curved backs, so that two could sit in them, and there were twelve of these double seats, all strapped firmly around the dragon’s thick body and placed one behind the other, in a row that extended from his shoulders nearly to his tail.
“Aha!” exclaimed Tubekins; “I see that Tititi-Hoochoo has transformed Quox into a carryall.”
“I’m glad of that,” said Betsy.  “I’m in disgrace just now, you know, and the only way to redeem my good name is to obey the orders of the Jinjin. If he makes me a beast of burden, it is only a part of my punishment, and I must bear it like a dragon.  Hop on, please. All aboard for the other side of the world!”
Silently they took their places.  Behind them were Shaggy and Polychrome, then Files and the Princess, and Queen Ann and Tik-Tok. The officers rode in the rear seats. When all had mounted to their places the dragon looked very like one of those sightseeing wagons so common in big cities—only he had legs instead of wheels.
“All ready?” asked Quox, and when they said they were he crawled to the mouth of the Tube and put his head in.
“Good-bye, and good luck to you!” called Tubekins; but no one thought to reply, because just then the dragon slid his great body into the Tube and the journey to the other side of the world had begun.
At first they went so fast that they could scarcely catch their breaths, but presently Quox slowed up and said with a sort of cackling laugh:
“My scales! But that is some tumble. I think I shall take it easy and fall slower, or I’m likely to get dizzy. Is it very far to the other side of the world?”
“Haven’t you ever been through this Tube before?” inquired Shaggy.
“Never. Nor has anyone else in our country; at least, not since I was born.”
“How long ago was that?” asked Betsy.
“That I was born? Oh, not very long ago. I’m only a mere child. If I had not been sent on this journey, I would have celebrated my three thousand and fifty-sixth birthday next Thursday. Mother was going to make me a birthday cake with three thousand and fifty-six candles on it; but now, of course, there will be no celebration, for I fear I shall not get home in time for it.”
“Three thousand and fifty-six years!” cried Betsy.  “He dates from the beginning of the world, and insists on telling us stories of things that happened fifty thousand years ago, which are of no interest at all to youngsters like me. In fact, Grandpa isn’t up to date. He lives altogether in the past, so I can’t see any good reason for his being alive to-day.... Are you people able to see your way, or shall I turn on more light?”
“Oh, we can see very nicely, thank you; only there’s nothing to see but ourselves,” answered Betsy.
This was true. The dragon’s big eyes were like headlights on an automobile and illuminated the Tube far ahead of them. Also he curled his tail upward so that the electric light on the end of it enabled them to see one another quite clearly. But the Tube itself was only dark metal, smooth as glass but exactly the same from one of its ends to the other. Therefore there was no scenery of interest to beguile the journey.
They were now falling so gently that the trip was proving entirely comfortable, as the Jinjin had promised it would be; but this meant a longer journey and the only way they could make time pass was to engage in conversation. The dragon seemed a willing and persistent talker and he was of so much interest to them that they encouraged him to chatter. His voice was a little gruff but not unpleasant when one became used to it.
“My only fear,” said he presently, “is that this constant sliding over the surface of the Tube will dull my claws. You see, this hole isn’t straight down, but on a steep slant, and so instead of tumbling freely through the air I must skate along the Tube. Fortunately, there is a file in my tool-kit, and if my claws get dull they can be sharpened again.”
“Why do you want sharp claws?” asked Betsy.
“They are my natural weapons, and you must not forget that I have been sent to conquer Ruggedo.”
“Oh, you needn’t mind about that,” remarked Queen Ann, in her most haughty manner; “for when we get to Ruggedo I and my invincible Army can conquer him without your assistance.”
“Very good,” returned the dragon, cheerfully. “That will save me a lot of bother—if you succeed. But I think I shall file my claws, just the same.”
He gave a long sigh, as he said this, and a sheet of flame, several feet in length, shot from his mouth. Betsy shuddered and Hank said “Hee-haw!” while some of the officers screamed in terror. But the dragon did not notice that he had done anything unusual.
“Is there fire inside of you?” asked Shaggy.
“Of course,” answered Quox. “What sort of a dragon would I be if my fire went out?”
“What keeps it going?” Betsy inquired.
“I’ve no idea. I only know it’s there,” said Quox. “The fire keeps me alive and enables me to move; also to think and speak.”
“Ah! You are ver-y much like my-self,” said Tik-Tok. “The on-ly dif-fer-ence is that I move by clock-work, while you move by fire.”
“I don’t see a particle of likeness between us, I must confess,” retorted Quox, gruffly. “You are not a live thing; you’re a dummy.”
“But I can do things, you must ad-mit,” said Tik-Tok.
“Yes, when you are wound up,” sneered the dragon.
“I don’t use gasoline.”
“Well, suppose you ran out of fire.”
“What’s the use of supposing that?” asked Quox. “My great-great-great-grandfather has lived since the world began, and he has never once run out of fire to keep him going. But I will confide to you that as he gets older he shows more smoke and less fire. As for Tik-Tok, he’s well enough in his way, but he’s merely copper. And the Metal Monarch knows copper through and through. I wouldn’t be surprised if Ruggedo melted Tik-Tok in one of his furnaces and made copper pennies of him.”
“In that case, I would still keep going,” remarked Tik-Tok, calmly.
“Pennies do,” said Betsy regretfully.
“This is all nonsense,” said the Queen, with irritation. “Tik-Tok is my great Army—all but the officers—and I believe he will be able to conquer Ruggedo with ease.   Anyone would know she is a fairy.”


|
Veer-Zaara: Love and Law in Bollywood
by Michael H. Hoffheimer
Yash Chopra's 2004 megahit
Veer-Zaara combines a "feel good" love story
and courtroom drama with running commentary on hot issues like
the status of women in South Asia, Indian prisoners in Pakistan,
and Hindu-Muslim relations. Virtually ignored by Western legal
pundits, Veer-Zaara should be required viewing.
Even if you are not Shah Rukh Khan, Rani Mukerji or Preity Zinta
fan, the film's social and cultural impact commands attention.
Veer-Zaara was 2004's top grossing Bollywood film and
won Filmfare awards for best film, best lyrics, best story, and
best dialog. See filmfareawards.indiatimes.com
(announcing 2004 film awards). Its song Main Yahan Hoon
("I am Here") still ranked as a top ten hit as of mid
2005.
Lawyer-client interview
The
story opens with a lawyer-client interview set in a Pakistani
prison. Novice female Pakistani lawyer Saamiya Siddiqui (Rani
Mukerji). meets her court-appointed client Veer Pratap Singh
(Shah Rukh Khan). Imprisoned for twenty-two years on his own
false confession that he was a spy, Veer reveals he is an Indian
citizen.
Flashback from the interviews presents the story of Veer falling
in love with a Pakistani citizen, Zaara Hyaat Khan (Preity Zinta),
when she visits India to dispose of the remains of her beloved
Sikh caregiver. When Veer later follows Zaara to Pakistan, corrupt
Pakistani officers in league with Zaara's jealous fiancé
coerce him into signing the false confession.
Because Veer forbids Saamiya from contacting Zaara, the lawyer
must travel to India to find proof of Veer's true identity. There
she (spoiler alert!) discovers Zaara operating a school for girls.
Saamiya returns with Zaara. Veer and Zaara embrace in the middle
of the courtroom as cameras circle.
Lawyers and the search for
truth
Saamiya's courtroom triumph
does not just reunite lovers and secure Veer's liberty. It proves
the competence of women lawyers and vindicates the power of truth
to the sneering prosecutor who had insisted, "It's not a
lawyer's job to decide what's right or wrong, it's a court's
job. A lawyer's job is to win the case under any circumstances.
Nothing else."
Saamiya responds humbly, "Well that's the difference between
you and me. Your principle is to fight to win and my principle
is to fight for the truth."
When he loses, her adversary concedes, "I'm giving up law
because you've taught me I'm not fit for this work." His
dialogue links truth to communal reconciliation: "I always
thought that a country's progress is measured [by] its judicial
system. But now I understand that the future of both these countries
is in the hands of youngsters like you who do not measure humans
as big-small, man-woman, Hindu-Muslin, who don't rake up bitter
war memories of 1947, 1965 and 1999 on every pretext, who wish
to address the future with the truth and only the truth and there's
no stopping a country where truth prevails."
The dialogue's point is reinforced visually. While the prosecutor
blesses Saamiya, the camera centers the two lawyers in front
of the bench, flanked by two Pakistani flags.
Religious harmony
This is Bollywood, so the fantasies
favor Hindus. At the border, Saamiya, a devout Muslim, offers
Veer vermillion, a traditional Hindu sign of marriage. As Veer
and Zaara cross the border, Veer kneels to kiss Indian soil.
Nor is there much room for doubt as to who is to blame for religious
intolerance. Veer's adoptive parents extend Zaara a specially
warm welcome when they learn she is from Pakistan, and they urge
Veer to marry her. But Zaara's father insists on arranging her
marriage to the son of a political powerful Muslim.
The film projects a casteless, open-handed Hindu spirit. Sikhs
appear repeatedly in peripheral roles where they mediate Muslim
and Hindu relations. Zaara' devotion to her Sikh bibi takes her
to India. Veer's Punjabi family celebrates Lohri collectively
with the village Sikh community.
Over-the-top scenes--from a deathbed request to a helicopter
rescue--eclipse subtleties that reward close attention. Broad
depictions of Muslims should not blind Western viewers to the
film's welcome departure from convention in presenting (most)
Muslim characters in a positive light.
The judge, who embodies the state of Pakistan, is fair-minded,
diligent, and empathetic. Even the rough Pakistani jailer redeems
himself on the witness stand.
Nostalgia
The role of law, specifically
courtroom legal process, in resolving disputes and restoring
family harmony reincarnates 50s law drama formulas, updating
pleas for social and penal reform to include advocacy of women's
rights, religious tolerance and international cooperation. One
of Yash Chopra's heroes is Raj Kapoor, and Veer-Zaara
pays sentimental tribute to Kapoor's Awara (1953), the
mother of Hindi law dramas and the greatest lawyer movie ever
made.
Chopra's resort to nostalgia includes a soundtrack built on previously
unreleased songs by Madan Mohan (1924-1975) with new lyrics by
the liberal Muslim poet and activist Javed Akhtar. Even if the
music did not scream retro, the marketing did: The DVD and the
two-disc CD include recreations of the songs, and the CD adds
two bonus songs not pictured in the film. The DVD is available
from NetFlix
, Amazon.com
, Nehaflix
and Yash Raj.
The film's multi-generational appeal includes the director's
son Aditya Chopra as story writer. Aditya himself directed DDLJ,
the longest screening hit (500-plus weeks) in Bollywood history.
Border crossing
Veer-Zaara's story associates border crossing
with both danger and romance. Sometimes border crossings may
carry too much romantic weight. You might get the idea that Veer's
family loves Zaara more than he does.
Border crossing is also associated with loss of identity. Veer
loses his identity in Pakistan. Zaara's entry into India and
her later marriage to Veer rupture her identity with her past
life and threaten her loss of Muslim identity.
The narrative resolution ambiguously permits a reading either
that she assimilates into a Hindu community or that she and Veer
preserve their religious differences in a secular community.
This ambiguous resolution echoes that of Kabhi Khushi Kabhi
Gham (2001) where Kajol's Muslim character appears with mangalsutra,
a Hindu sign of marriage.
Veer-Zaara's union, however ambiguous, marks a departure from
Bollywood treatments of Hindu-Muslim romances which even in recent
years sometimes spelled the death of one lover, the disclosure
that the Hindu was really a Muslim--or both. For all its clichés,
a commercial hit built on a love affair between Hindu and Muslim
reveals how far Bollywood leads Hollywood, where credible Black-white
romance is rarely attempted and, perhaps, still not achieved.
Veer-Zaara's romance bristles with ironies that both reinforce
and subvert a traditionalist reading. Romantic love, strongly
associated with family identity, overcomes religious difference.
Love also overcomes patriotic militarism, for Veer does not hesitate
to renounce his glam career with the Indian Air Force in order
to visit Zaara in Pakistan. The ironies are coded onto the casting.
Muslim SRK plays the Hindu, while Hindu Rani Mukerji plays the
Muslim.
The plot exhibits a theme that has emerged as a common structural
element in Bollywood romances since the 90s. Its happy ending
leaves one of the protagonists uncoupled--and without the prospect
of immediate coupling. Just as Hum Dil De Chuke Sanam
ends with Salman Khan seeking comfort from his dead father while
Ajay and Ash pair up, Veer-Zaara leaves Saamiya at her
father's grave while Veer and Zaara walk into the sunset.
Lawyers as lovers
Where Veer-Zaara falls
short is on the capacity of lawyers to be lovers. There is a
tension between the son's screenplay and the father's direction.
How can Saamiya help falling in love with Veer?
Ingredients of the story--Veer's captivity, idealism, status
as orphan, even his love of Saamiya's mother's cooking--suggest
the vulnerability and romantic compatibility of their characters.
Moreover, prior screen pairings of SRK and Rani Mukerji suggest
the danger of a romance.
The director's pedagogic goal of presenting Saamiya's single-minded
devotion to justice keep him from developing any amorous interest
between her and her client. In this the film differs from the
classical melodramas of the 50s in which Raj Kapoor, Bimal Roy
and Mehboob Khan regularly explored romantic ambivalence as a
source of social conflict.
Comparing Veer-Zaara to Bollywood classics may even support
the generalization that while older Hindi melodrama imposed ambiguity
on characters who were emotionally indecisive (Devdas) or morally
conflicted (Kapoor's eponymous Raj), contemporary Bollywood imposes
ambiguity on the plot, permitting a variety of readings to suit
different constituencies.
Law and revenge
What Veer-Zaara loses
in emotional edge it gains in didacticism. Like traditional Bollywood
law dramas, the courtroom offers Veer a platform to address political
concerns. He neither denounces corruption nor demands retribution.
Instead he reads a poem expressing wonder at the identity of
Muslim and Hindu. The poem's universalist message simultaneously
advocates communal harmony in India and promotes international
friendship between Pakistan and India.
Since The Count of Monte Cristo (1844-45), wrongful imprisonment
and loss of a beloved have formed the mythic foundations of revenge-genre
melodrama. Veer-Zaara's refusal to identify justice with
vengeance differentiates the film from most Bollywood and Hollywood
fare.
Veer-Zaara envisages law as a force capable of surmounting
national barriers and resolving personal and international disputes.
The film does not present law's incapacity to restore the past
as a deficit that requires individual agency.
At a time when escapist fantasy often castes lawyers as demons,
Veer-Zaara reminds us of alternative traditions where
law works to reveal true identities and lawyers serve as reconcilers
and healers. The film's commercial success proves the renewed
appeal of such fantasy in South Asia.
The author acknowledges the
help of Jean S. Hoffheimer in preparing this article.
Posted August 5, 2005
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File System Basic Structure
The
/usr/src/servers/mfs
directory contains the source code for FS in
minx3.2 operating system. Some of the important files in mfs are
main.c, in-
ode.h, open.c, write.c, buf.h, super.h, super.c
etc. The main function of
each file in mfs are listed below:
- buf.h - Defines the block cache. It contains a union named fsdata u
with following attributes:
- b data[MAX BLOCK SIZE], a character array, containing ordi-
nary user data.
-
- b dir[NR DIR ENTRIES( MAX BLOCK SIZE)] - directory
block
- b bitmap[[FS BITMAP CHUNKS( MAX BLOCK SIZE)]] -
bitmap block
- direct and indirect inode blocks
- cache.c - FS has a buffer cache to reduce the number of disk accesses.
File contains 9 procedures, few of them are listed below.
- get block - Fetch a block for reading/writing.
- put block - Return a block
- rw block - Transfer block between disk and cache
- free zone - If file is deleted, free the zone
- ...
- const.h - Defines constants, like flags, table size that will be used in
the file system. Few constants are, IN CLEAN, IN DIRTY, ATIME,
CTIME etc
- fs.h - Master header for FS, includes all header files needed by the MFS
source files
- glo.h - Defines all the global variables. Few examples of global variables
are fs m in, fs m out, err code, fs dev, user path[PATH MAX]
etc.
- inode.h - Contains the stucucture for inode and the inode table as in-
ode[NR INODES]
- inode.c - Contains functions which manages the inode table. The func-
tions are get inode(), put inode(), rw inode(), alloc inode() etc
- main.c - Contains the main routiene of the file system. The main loop
does three activities
- get work(&fs m in) - Gets a new work
- Processes the work i.e. selects the fuction to be called to complete
the work and calls it from the table of function pointers.
- reply(src, &fs m out) - Sends a reply
- open.c - Contains the codes for six system calls:open, close, mknode,
mkdir, close, lseek
- proto.h - Lists all function prototypes for all functions used in MFS
- read.c - All functions that are used for reading or writing are present in
read.c. Some of the functions include, fs readwrite, rw chunk, read map
etc.
- super.h - Contains the superblock table. Super block holds information
about inode bitmap, zone bitmaps, inodes etc.
- super.c - Handles the superblock table and other related data structures
like zone bitmap, inode bitmap etc. Major functions in this file are: al-
loc bit(), free bit(), get super(), read super() etc.
- table.c - Contains the table that map system call numbers onto the rou-
tines.
- write.c - Contains files that are not in read.c but are necessary for writing
in a file. Most important functions in write.c are write map, clear zone,
new block and zero block
Data Structures Involved
Inode
we can see that there are 7 zones of 4 bytes each, an indirect
zone of size 4 bytes, a double indirect node of size 4 bytes and an unused
space of 4 bytes. Each zone points to a disk block where actual data gets
stored. According to definition of immediate files we had to find a space
in the inode where we can store the immediate files. These zones are apt
place to store the immediate files because no data which is critical to the
file is being affected. We calcualted maximum size of immediate files as
40 bytes by adding up sizes of all zones, indirect zones and unused space.
max size = zn sz X 7 + ud sz + idt sz + ddt sz
max size = 4 X 7 + 4 + 4 + 4 = 40bytes
buffer or block cache
This is a union of different types of blocks in the
disk. Eg. normal data block, directory block, inode block, bitmap block
etc. The design of buffer or block cache is given below.
b data array is used to cache the data which is stored in the disk block,
all the modifications by the user are done here and then the data is written
back to the disk. b data(b) is a macro which returns the pointer to the
first byte of b data array.
message
mess 1, mess 2, mess 3, . . . are different message types. In MFS,
global variables, fs m in and fs m out, of type message are used to
send and recieve messages from various servers like VFS. Following system
calls are used for message passing: echo, notify, sendrec, receive, send.
Files Involved
List of all files in which codes are added or deleted.


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Mexico grants asylum to Bolivian leader Morales
MEXICO CITY: Mexico said on Monday (Nov 11) it has granted asylum to Bolivia's Evo Morales, after the leftist president's departure left the South American nation reeling amid a power vacuum.
"Several minutes ago I received a phone call from (former) president Evo Morales to verbally and formally request political asylum in our country," Foreign Minister Marcelo Ebrard told a news conference.
"Interior Minister Olga Sanchez Cordero made the decision to grant him asylum ... for humanitarian reasons."
Morales will have asylum with immediate effect for his own protection, Ebrard added, but did not answer journalists' questions on whether he would travel to Mexico, and if so when he would arrive.
Mexico had said on Sunday it was prepared to grant Morales asylum, after Bolivia's first indigenous president stepped down amid massive protests and growing unrest over his fraud-stained re-election on Oct 20.
Morales, 60, had been in power since 2006.


Sara Quin’s (of Tegan and Sara) 10 Favorite Books
by Sara QuinBookseller One Grand Books has asked celebrities to name the ten titles they’d take to a desert island, and they’ve shared the results with Vulture. Below is Sara Quin’s list.
Heavy: An American Memoir, by Kiese Laymon
So fresh and mesmerizing, Kiese Laymon’s writing reminded me of the thrill and speed of listening to a musician that reinvents a genre. Every page winded me.
Sabrina, by Nick Drnaso
The story Nick Drnaso tells about the inexplicable violence perpetrated by a young man, filmed, uploaded, and then devoured on social media by the masses, kept me up at night. Even in the wordless frames, I sometimes wanted to cover my eyes or look away. Essential reading for our times.
The Vegetarian, by Han Kang
Scarier than a horror film, I found that I could not read it alone at night. It was the closest I’ve come to giving up the flesh (of animals).
Priestdaddy, by Patricia Lockwood
I recently emailed Patricia Lockwood to ask her a favor even though we do not know each other. That’s the kind of intimacy this excellent memoir about Patricia’s life, and family, fosters in its reader. I wouldn’t just bring this book to the desert island, I’d beg Patricia to shipwreck there with me.
The Folded Clock, by Heidi Julavits
“To be melancholy is to be self-haunted, and among the many reasons this is an unsatisfactory explanation for living inside a jam jar inside an aquarium, foremost among them is that there are no good stories to tell of your bleak time in a beautiful place, and no specter to blame for the fact that happiness, though it should have been inescapable, evaded you.” I want that quote chiseled onto my gravestone.
The Flamethrowers, by Rachel Kushner
I am not a cool person, and this book — daring and smart, with a protagonist so original and fierce — confirmed the above statement in spades. Please read if interested in any or all: motorcycles, New York City in the 1970s, artists, radicals, revolutionaries.
Dept. of Speculation, by Jenny Offill
There are sentences in this book that I’d tattoo on my skin forever.
White Teeth, by Zadie Smith
In my life, there is the time before White Teeth, and the time after White Teeth. Zadie Smith’s writing changed my view of the world, and no offense to Patricia Lockwood, but I would like to ask Zadie to come to the desert island too.
The Invention of Solitude, by Paul Auster
As I’ve struggled to understand the (older) men in my life, I’ve returned to this book often. For anyone with daddy issues.
Fraud, by David Rakoff
Brilliant, clever, and heartbreaking essays. Especially marvelous if you know David’s voice from his work on the radio program This American Life.


I am a graduate student at University of San Francisco working towards Masters degree in Analytics.
I am interested in using the full stack of Data Science skills to work on business problems involving human data.
My interests include behavioral economics, social network analysis and mass behavior.
Prior to getting into Data Science, I spent two years in finance and consulting.
This time gave me a strong analytical eye,
solid business foundations and taught me how to work together with different people.
My other work experience includes business development and sales.
Project Portfolio
Contact


I was playing around with a Fighter/Rogue/SD pre epic (maybe a mistake in the first place) and whenever I take 4 (or even 5) levels of Fighter, I still don't get my BAB high enough for 4 attacks/round.
Is it that SD level that's messing me up pre-epic? Only way I've done it so far is to take 7 fighter levels pre-epic.
I'm trying to get away with as few as possible in order to maximize my Rogue abilities (sneak attack, possibly self concealment, etc.)
Thanks!
Joe C.
Your rogue and SD levels will need to be in multiples of 4. For example, having a 8/8/4 Rogue/SD/Fighter will work, as will a 12/4/4 Rogue/SD/Fighter. If you take 1 level of SD, you'll need to make up for it with a lot of fighter (7 minimum, as you found). _________________ "Intelligence is knowing a tomato is a fruit; Wisdom is not putting it in a fruit salad."
Thanks for the info .. will now go back to the ol' drawing board once more..
Thanks again,
Joe C.
To calculate your BAB, look at the table "Base Saves and Attacks for all classes" in your hotu manual.
Add up the first AB rating for each class. Eg: If you have a 6Ftr/8Rogue/6SD, your BAB would be
6(from Ftr) + 6 (from Rogue) + 4 (from SD) = 16.
To get 4 attacks per sound, your pre-epic BAB has to be 16.


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Hot this week
phishing
Twitter CFO Anthony Noto has account hijacked
Twitter's Chief Financial Officer Anthony Noto is making headlines again after having his Twitter account hijacked and used to send out spammy links.
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But here's a phishing story that will make you smile yet still be educational...
SSCC 179 - What kind of a name is "Lizard Squad"? [PODCAST]
Here's the latest episode of our regular security podcast.
This week: phishing, spamming, zombification, SCADA and the Internet of Things, and the curiously named cybervandals that go by "Lizard Squad."
Can malware and hackers really cause giant physical disasters?
Could you really have a hacker or malware initiated meltdown?
Yes, says the 2014 report of the German Office for Information Security...
Yes, I got an iTunes gift card for Christmas - but HOW DID THE CROOKS KNOW THAT?
You *are* being doubly cautious for phishing campaigns over the holiday season, aren't you?
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The email that caused a literal meltdown - 60 Sec Security [VIDEO]
Enjoy the last episode of "60 Second Security" for 2014!
Learn from the week's news in just one minute...
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Here's the latest episode of our weekly security podcast.
Enjoy...and "Happy Holidays," whether you're away on vacation yourself, or a sysadmin enjoying the time when everyone else is on vacation!
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US Nuclear Regulatory Commission hacked 3 times in 3 years
According to documents obtained under an open-records request, two of the hacks, perpetrated via phishing emails, are believed to have originated in foreign countries, while the source of the third remains unknown because incident logs have been destroyed. The report does not say when the attacks occurred, nor does it divulge what, if any, data was compromised.
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--- title: Euler Angle Sections sidebar: documentation_sidebar permalink: EulerAngleSections.html folder: documentation toc: false ---
Plotting an ODF in two dimensional sections through the orientation space is done using the command plot. By default the sections are at constant angles of \(\varphi_2\). The number of sections can be specified by the option 'sections'
One can also specify the \(\varphi_2\) angles of the sections explicitly
{% highlight matlab %} plot(odf,'phi2',[25 30 35 40]*degree,'silent') annotate(ori1,'MarkerSize',15) annotate(ori2,'Marker','v','MarkerSize',15) plot(f,'linewidth',2,'add2all') {% endhighlight %}Beside the standard phi2 sections MTEX supports also sections according to all other Euler angles.
By default this command represents the ODF in the Bunge Euler angle space \(\varphi_1\), \(\Phi\), \(\varphi_2\). The range of the Euler angles depends on the crystal symmetry according to the following table
|
symmetry |
1 |
2 |
222 |
3 |
32 |
4 |
422 |
6 |
622 |
23 |
432 |
|
\(\varphi_1\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
\(360^{\circ}\) |
|
\(\Phi\) |
\(180^{\circ}\) |
\(180^{\circ}\) |
\(90^{\circ}\) |
\(180^{\circ}\) |
\(90^{\circ}\) |
\(180^{\circ}\) |
\(90^{\circ}\) |
\(180^{\circ}\) |
\(90^{\circ}\) |
\(90^{\circ}\) |
\(90^{\circ}\) |
|
\(\varphi_2\) |
\(360^{\circ}\) |
\(180^{\circ}\) |
\(180^{\circ}\) |
\(120^{\circ}\) |
\(120^{\circ}\) |
\(90^{\circ}\) |
\(90^{\circ}\) |
\(60^{\circ}\) |
\(60^{\circ}\) |
\(180^{\circ}\) |
\(90^{\circ}\) |
Note that for the last two symmetries the three fold axis is not taken into account, i.e., each orientation appears three times within the Euler angle region. The first Euler angle is not restricted by any crystal symmetry, but only by specimen symmetry. For an arbitrary symmetry the bounds of the fundamental region can be computed by the command fundamentalRegionEuler
As we can see from the above table the first Euler angle \(\varphi_1\) ranges for all symmetries from zero to 360 degree. The only way to restrict this angle is to consider specimen symmetry. In the classical case of orthotropic specimen symmetry the range of the first Euler angle reduces to 90 degree and we obtain the common square shaped ODF section plots
{% highlight matlab %} odf.SS = specimenSymmetry('222'); plot(odf,'sections',18,'layout',[5 4],... 'coordinates','off','xlabel','','ylabel','') {% endhighlight %}


Random notes, lectures and workshops during my adventures on geospatial technologies. Have fun!
© {{ .Site.LastChange.Year }}. Visit my github page for more.


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Config register value, write in HEX format. To generate new confic, change value in comboboxes.
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 0 (SERIAL READOUT) | |||
| 7 (RESET) |
Set by software, clear by hardware |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 2 (ENABLE LOW SPEED MODE) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 1 (STANDBY) | |||
| 6:5 (REF. Internal or external reference selection) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 3:0 (POWER DOWN MODES) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 7 (LVDS CMOS) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 4:2 (CLKOUT POSN) |
LVDS - Output clock falling edge position CMOS - Output clock rising edge position |
Keep the same duty cycle, move both edges by the same amount(i.e. write the same value to 7:5) | |
| 7:5 (CLKOUT POSN) |
LVDS - Output clock rising edge position CMOS - Output clock falling edge position |
Keep the same duty cycle, move both edges by the same amount(i.e. write the same value to 4:2) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 2:1 (DATA FORMAT) | |||
| 6 (ENABLE INDEPENDENT CHANNEL CONTROL) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 7:0 (CUSTOM PATTERN LOW) |
8 LSB bit for custom pattern used with "Test pattern" reg 0x62 |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 5:0 (CUSTOM PATTERN HIGH) |
6 MSB bit for custom pattern used with "Test pattern" reg 0x62 |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 6 (ENABLE OFFSET CORRECTION – Common/Ch A) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 3:0 (OFFSET CORR TIME CONSTANT – Common/Ch A) | |||
| 7:4 (GAIN – Common/Ch A) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 6:0 (FINE GAIN ADJUST) |
FINE GAIN ADJUST – Common/Ch A | Channel gain = 20*log10[1 + (FINE GAIN ADJUST/8192)] |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 2:0 (TEST PATTERNS) | Config for channel A only if independet mode is enabled, for both channels in other case |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 5:0 (OFFSET PEDESTAL – Common/Ch A) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 6 (ENABLE OFFSET CORRECTION – CH B) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 3:0 (OFFSET CORR TIME CONSTANT – CH B) | |||
| 7:4 (GAIN – CH B) |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 6:0 (FINE GAIN ADJUST) |
FINE GAIN ADJUST – CH B | Channel gain = 20*log10[1 + (FINE GAIN ADJUST/8192)] |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 2:0 (TEST PATTERNS) | Config for channel B only if independet mode is enabled |
| REGISTER BIT | RELATED BLOCK | FUNCTION | COMMENT |
|---|---|---|---|
| 5:0 (OFFSET PEDESTAL – Common/CH B) |


The VRML Consortium gratefully acknowledges the authors, Rikk Carey, Gavin Bell, and Chris Marrin, whose valuable efforts produced the VRML standard.
We would like to give special thanks to Steve Carson, chair of the ISO/IEC JTC 1/SC 24, Computer Graphics and Image Processing subcommittee, and to Dick Puk, liaison between the VRML Consortium and SC 24, for guiding the standards process as well as their significant contributions to the document itself. Also, thanks to all the members of ISO who participated in the review and editing of ISO/IEC 14772.
Special thanks to Kouichi Matsuda and the Sony VRML team for their work on the Java annex and to Jan Hardenbergh for his work on the ECMAScript annex. Thanks to Curtis Beason, Chris Fouts, John Gebhardt, Rich Gossweiler, Paul Isaacs, and Daniel Woods for writing key sections. Thanks to Justin Couch and the Script Working Group for drafting several improvements to the scripting sections. Thanks to all the others who drafted text for the standard, too numerous to name them all.
Thanks to Mark Pesce, Tony Parisi, Mitra, Brian Behlendorf, and Dave Raggett for their early pioneering work and continued efforts on VRML.
Thanks to the hundreds of participants who contributed ideas, reviews, and feedback on the VRML standard.
Thanks to Kevin Hughes for the VRML logo artwork.
And, last but not least, thanks to the members of the VRML community for their support, passion, and hard work that has made VRML into an International Standard.
Questions
or comments.
Copyright © 1997 The VRML
Consortium Incorporated.
http://www.vrml.org/Specifications/VRML97/acknowledgements.html


The continent of Asia is commonly divided into geographic and cultural subregions, including Central Asia, East Asia, North Asia, South Asia, Southeast Asia, and West Asia. While linked together on a geographical continent, there has been little unity or common history between the many cultures and peoples there. Asian art, music, and cuisine, as well as literature are all important parts of Asian culture. Eastern philosophy and religion, including Hinduism, Taoism, Confucianism, Buddhism, Judaism, and Islam, also play major roles. One of the most complex parts of modern Asian culture is the East-West dichotomy, as increasing Western influence clashes with traditional ideals.
While there are as as many religions in Asia as there are anywhere else, Buddhism is one of the predominant ones. Buddhism was established in northern India about 2500 years ago in response to the life and teachings of Gautama Siddhartha who was given the title "Buddha" or "awakened-one."
A traditional Chinese meal that consists of lots of small dishes of a bunch of different kinds of foods, including steamed or fried dumplings.
Tea plays a major role in Asian culture - whether it's in China, India or Malaysia - tea ceremonies, in their various forms, are a major part of most Asian cultures.
Origami is the art of folding paper. While it is quite popular in Japan, it is believed to have originated in China in the first century AD. One of the most popular origami shapes is the crane. The crane is thought to be a sacred animal in Japan and legend has it that if you fold 1,000 paper cranes, your wish will come true.


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We welcome your feedback and ideas. Let us know what you like - what you don't like - and what you'd like to see us add! We plan continuous roll outs as we develop new tools and enhance the exitising ones so check back regularly to see what is new!
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Mitou Junior provides financial (up to 500K yen) and mentoring support for talented U-17 creators and programmers who have unique ideas!
AboutIt is a "Mini Mitou" program for talented and innovative creators and programmers under 17 in Japan.
If you don't know what the Mitou Program is, please refer to this page
Creators will be able to learn from PMs and other Mitou graduates who are at the forefront of technology.
Each group will be eligible to receive up to 500K yen as funding for development.
When necessary, places to develop will be provided.
Creators certified as Mitou Junior Super Creators will be eligible to be recommended to next year's Mitou Program.
11 projects (17 creators) were adopted from a total of 41 applications.
The creators below are certificed as Mitou Junior Super Creators.
Kaede Sugano (narratica〜story consultant〜)
Rei Yano (Photo Stand for Elderly Care)
Shu Kato (DrawCode〜Drawing HTML by connecting blocks〜)
Tomoki Ohno (Visual Programming Language for Learning the Concept of FRP)
Sosuke Suzuki (Visual Programming Language for Learning the Concept of FRP)
Ray Ohtsuka (Raku Raku(easy)Yomi Yomi(reading))
Masato Sasaki, Kotaro Suto (Seki PM)
They developed an iOS application which recommends songs on Apple Music based on the songs that the users have sung at Kareoke bars and films that they have watched.
A project to create a service to listen to music based on the users' memories that started from the realization that we don't listen to the songs we used to before as much now. They learnt how to realize and create their ideals for their project practically. They weren't able to release the app, so I would like that to be their next task. I hope that they will create services that will change society through the experiences that they have gained through this experience.
Yutaro Tanaka, Yo Nakahara, Manami Nakagawa (Seki PM)
They developed a web application, PaPa, that aids the communication and sharing of information between teachers and students within educational environments.
They started the project aiming to resolve the problems that lie within the IT communications system in their own school. They were able to actually have their classmates use the app, recieve feedback and make improvements regardless of the fact they started with almost no programming experience. I hope that they will create services that will change society through the experiences that they have gained through this experience whilst improving on their programming skills further.
Ayaka Nakasuji (Ukai PM)
Anki-cookie helps motivate students through personalized cookies with cookies printed with words based on their results from web quizzes that they have taken.
Based on her personal experiences, she developed a system named Anki-cookie which fosters motivation to learn kanjis among students who live in foreign countries by engraving the kanjis the user has remembered on cookies that they will recieve as a reward. The fact that she made at least a working prototype in very limited time she had should really be commended. I’d like her to continuously challenge widening the possibilities of great ideas.
Kaede Sugano (Yonetsuji PM)
She developed a system which evaluates the story of movies based on the characters' emotional changes by analyzing the script of the movie and also analyzes your own writing using natural language processing.
I selected her as she had experience developing applications for smartphones and had a proposal that used an morphological analysis approach towards a difficult topic like story analysis. I would like her to praise her for the fact that during the duration of the program, she was able to create a program that analyzes the scenario morphology on the server side, and aspects such as the emotion graph on the client side whilst analyzing a number of actual scenarios. It is a field that has many prospects, so I look forward to her development.
Rei Yano (Yonetsuji PM)
He developed a system with a camera and sensors to help caretakers to monitor elderly people.
Spurred on by the fact that he wanted to look after his grandfather, he was able to acquire data with cameras and sensors using a computer, then translated that data into a database and graphs, and even managed to categorize the acquired images using machine learning. I selected him as he is very talented, and able to develop on the client side, server side, and is able to build electronic devices. He punched above his weight with his engineering skills. I would like him to utilize his development skills further.
Tetsunosuke Shimoda (Teramoto PM)
He developed an application for foreign visitors who want to ask questions to Japanese natives.
It is a project aiming to solve the problems that foreigners have when travelling in Japan by being able to overcome the communication barrier. He showed much motivation through taking questionaires at airports before he even started the project. He used a language new to him, but he learnt throughout the program and created a prototype. In that sense, I think this project has also helped his confidence. I want him to keep being able to make use of his ability to take actions.
Shu Kato (Teramoto PM)
He developed a web-based visual programming environment for novice programmers which enables web sites to be coded by connecting code-blocks.
Programming course material is currently literally "a battle between powerhouses". He used his own experiences to search for a kind of block programming that would enable users to shift smoothly into text programming. I highly commend the fact that through this project, he has not only thought about the ways to express the program, but acutally had users using it. Furthermore, I believe the possibilities that he could come up with would widen dramatically through learning programming even more himself. I would like him to create many things for as long as possible.
Hibiki Nemoto (Sasada PM)
A novel keyboard which has audio-recognition functionality in Japanese, English and Chinese was developed.
Mr. Nemoto developed a "listenable keyboard" with voice recognition using a Raspberry Pi. It was stunning of him to perform a demonstaration with not only Japanese, but with English and Chinese also. In many parts of this device he used software and services already widely available, so it was not fundamentally difficult, but I praise him for the fact that he combined those aspects well to release it in a usable state. To be greedy, I would have liked him to make a proposal in which there were many usages of the keyboard. There are many aspects to overcome, but including these things, I want him to play an active part in society using the thing that he has learned during this program.
Haruta Yamada, Motone Adachi, Yuki Tajima, Yamato Degawa (Nishio PM)
They developed an application which enables user to customize their own IoT devices without programming.
Despite the fact that Mr. Yamada is the team leader on paper, Mr. Adachi was the main developer. Mr. Adachi attempted to create software to spread IoT throughout the world by allowing users to use IoT devices without any programming. It was unfortunate that he was not able to perform a demonstaration in the end, but by using it, operating a web service from a Raspberry Pi, users can, besides other things, tweet the input from a sensor on the brower withou using any programming. It is unfortunate that they did not utilize me well enough, perhaps due to the fact that he may have wanted to do everything by himself.
Tomoki Ohno, Sosuke Suzuki (Yasukawa PM)
They developed a new visual programming language which enables users to develop an application by connecting GUI elements placed.。
Despite being a high school student, Mr. Ohno and Mr. Suzuki already have enough skills to live off, so through this project they were able to focus on learning the development of product making. During the short term, they experienced the following phase of product development: releasing, learning from user testing, and publishing their product ( https://vamboo.net/ ) as an opensource, which should be one of the most common experiences in the near future. I hope they will make use of Mitou community in order to push the boundaries of the community and shape the unknown potentials and possibilities that this community has.
Ray Ohtsuka (Suzuki PM)
This is an application which enables easy reading of articles for people who suffer from poor eyesight. The functionality is full of ingenious combination; displaying the characters, highlighting the area which is already being read, and tracking line of sight.
He developed an app to help people with poor eyesight to read newspapers. He was able to learn a new programming language, how to use a eyesight tracking device, and the design of presentations through developing an app whilst enjoying himself. Midway through his project he conducted a user test, redesigning the interface whilst talking direcly to the user. This is an important thing when making apps to help others. The functions that were technologically difficult to do will be solved through developing the project further.
He developed a virtual machine for Ruby named YARV, and it was adopted as a part of Ruby 1.9 in 2007. He's been contributing to Ruby as a committer mainly for speed-up related projects such as performance improvement of virtual machines, and garbage collection. He received Ph.D. in Computer Science from the University of Tokyo. He was also certified as Mitou Super Creator in 2004.
He was certified as Mitou Super Creator in 2002. He also received Ph.D. in Science in 2006, and Master of Management of Technology in 2014. From 2007, he's been working for Cybozu Lab, and working on research projects related to team collaboration software. He published several books in Japanese such as 「コーディングを支える技術」「word2vecによる自然言語処理」. He's also a board member of Mitou Foundation.
CEO of YassLab, Representative of CoderDojo Japan. He received his master's degree in Computer Science from Waseda University, and was certified as Mitou Super Creator. After studyin abroad in the United States, he founded YassLab company that focuses on agile development, education, and translation technology. He likes Ruby/Rails and publishes Japanese Rails Tutorial and Rails Guides, which are now two of most famous resources in Japanese Ruby community. Using those resources he lectures Web Development at Japanese universities such as AiiT and University of Tsukuba.
He belonged to the RoboCon club in the University of Tokyo, and was responsible for mechanics. He was also a creator of Mitou Project in 2012. After he received master's degree from the University of Tokyo, he worked for CNC software research institution in Fanuc corporation, and then joined Preferred Networks in 2016. He has been working on Amazon Picking Challenge and other robotics projects. He's best known for PaintsChainer which is automatic painting service using Chainer deep-learning framework developed by Preferred Networks.
He was certified as Mitou Super Creator in 2013 by his achievement on developing C++ library for game and media-art project named Siv3D. He's also been responsible for C++ programming classes for Information Science school for middle and high school students run by Waseda University.
He's been developing HackforPlay to make more students feel coding fun. He was certified as Mitou Super Creator in 2015. He's also a founder of CoderDojo Kanazawa.
He received Ph.D. in Engineering from the University of Tokyo. He was also a Mitou Creator in 2011. When he was a postgraduate student, he co-developed Gunosy, and eventually co-founded the company. He's been responsible for news delivery logic in the company, and he had deep expertise on web-mining focusing on recommendation systems, the application of machine learning, and natural language processing. Additionally, he's a visiting researcher at the University of Tokyo from April of 2017.
He was certified as a Mitou Super Creator in 2011 as a result of his achievement in the development of an underwater robot for swimming education. After he received master's degree in Arts and Science from the University of Tokyo, he had been working for Microsoft as a Program Manager in Office and Minecraft Education team. He designed many educational products such as Office Lens, Minecraft: Education Edition and Minecraft Hour of Code. Now, he left the company and he is a postgraduate student at King's College London for Computer Science Education.
He was born in Toyama in 1946. After he joined NTT Research Laboratory in 1971, he worked on Lisp and the development of its processing system. After he left the company, he was a professor at the University of Electro-Communications, the University of Tokyo and Waseda University.
If you are interested in supporting the Mitou Junior project, please email here.


--- layout: default title: ADASE Group Website permalink: / ---
Here some information about our group etc.


{% include requirements/background.html %}
{% include requirements/clients.html %}
{% include requirements/problem.html %}
{% include requirements/requirements.html %}
{% include requirements/personas.html %}
{% include requirements/usercases.html %}


search.hh File Reference
(Revision: 3516)
#include <ctime>
#include "gecode/kernel.hh"
#include "gecode/support/dynamic-stack.hh"
#include "gecode/search/statistics.icc"
#include "gecode/search/stop.icc"
#include "gecode/search/engine-ctrl.icc"
#include "gecode/search/reco-stack.icc"
#include "gecode/search/dfs.icc"
#include "gecode/search/lds.icc"
#include "gecode/search/bab.icc"
#include "gecode/search/restart.icc"
Go to the source code of this file.
Namespaces | |
| namespace | Gecode |
| namespace | Gecode::Search |
| namespace | Gecode::Search::Config |
Classes | |
| class | Gecode::Search::Statistics |
| Search engine statistics More... | |
| class | Gecode::Search::Stop |
| Base-class for Stop-object. More... | |
| class | Gecode::Search::MemoryStop |
| Stop-object based on memory consumption More... | |
| class | Gecode::Search::FailStop |
| Stop-object based on number of failures More... | |
| class | Gecode::Search::TimeStop |
| Stop-object based on time More... | |
| class | Gecode::Search::EngineCtrl |
| Search engine control including memory information More... | |
| class | Gecode::Search::ReCoNode |
| Search tree node for recomputation More... | |
| class | Gecode::Search::ReCoStack |
| Stack of nodes supporting recomputation. More... | |
| class | Gecode::Search::DfsEngine |
| Depth-first search engine implementation. More... | |
| class | Gecode::Search::DFS |
| Depth-first search engine. More... | |
| class | Gecode::DFS< T > |
| Depth-first search engine. More... | |
| class | Gecode::Search::ProbeEngine |
| Probing engine for LDS. More... | |
| class | Gecode::Search::ProbeEngine::ProbeNode |
| Node in the search tree for LDS More... | |
| class | Gecode::Search::LDS |
| Limited discrepancy search engine. More... | |
| class | Gecode::LDS< T > |
| Limited discrepancy search engine. More... | |
| class | Gecode::Search::BabEngine |
| Implementation of depth-first branch-and-bound search engines. More... | |
| class | Gecode::Search::BAB |
| Depth-first branch-and-bound search engine. More... | |
| class | Gecode::BAB< T > |
| Depth-first branch-and-bound search engine. More... | |
| class | Gecode::Restart< T > |
| Depth-first restart best solution search engine. More... | |
Defines | |
| #define | GECODE_SEARCH_EXPORT |
Functions | |
| template<class T> | |
| T * | Gecode::dfs (T *s, unsigned int c_d=Search::Config::c_d, unsigned int a_d=Search::Config::a_d, Search::Stop *st=NULL) |
| Invoke depth-first search engine. | |
| template<class T> | |
| T * | Gecode::lds (T *s, unsigned int d, Search::Stop *st=NULL) |
| Invoke limited-discrepancy search. | |
| template<class T> | |
| T * | Gecode::bab (T *s, unsigned int c_d=Search::Config::c_d, unsigned int a_d=Search::Config::a_d, Search::Stop *st=NULL) |
| Perform depth-first branch-and-bound search. | |
| template<class T> | |
| T * | Gecode::restart (T *s, unsigned int c_d=Search::Config::c_d, unsigned int a_d=Search::Config::a_d, Search::Stop *st=NULL) |
| Perform depth-first restart best solution search. | |
Variables | |
| const unsigned int | Gecode::Search::Config::c_d = 8 |
| Create a clone after every c_d commits. | |
| const unsigned int | Gecode::Search::Config::a_d = 2 |
| Create a clone during recomputation if distance is greater than a_d. |
Define Documentation
|
|
|


ALKA-SELTZER HEARTBURN- anhydrous citric acid and sodium bicarbonate granule, effervescent
Bayer HealthCare LLC, Consumer Care
Disclaimer: Most OTC drugs are not reviewed and approved by FDA, however they may be marketed if they comply with applicable regulations and policies. FDA has not evaluated whether this product complies.
| Active ingredients (in each tablet) |
Purpose |
| Anhydrous citric acid 1000 mg |
Antacid |
| Sodium bicarbonate (heat-treated) 1940 mg |
Antacid |
Uses
for the relief of
- heartburn
- acid indigestion
- upset stomach associated with these symptoms
Warnings
Ask a doctor before use if you have a sodium-restricted diet
Ask a doctor or pharmacist before use if you are presently taking a prescription drug. Antacids may interact with certain prescription drugs.
When using this product do not exceed recommended dosage
Stop use and ask a doctor if you have taken the maximum dose for 2 weeks
If pregnant or breast-feeding, ask a health professional before use.
Keep out of reach of children.
Directions
- fully dissolve 2 tablets in 4 ounces of water before taking
| adults and children 12 years and over |
2 tablets every 4 hours as needed, or as directed by a doctor |
do not exceed 8 tablets in 24 hours |
| adults 60 years and over |
2 tablets every 4 hours as needed, or as directed by a doctor |
do not exceed 4 tablets in 24 hours |
| children under 12 years |
consult a doctor |
Other information
-
each tablet contains: sodium 575 mg
-
phenylketonurics: contains phenylalanine 5.6 mg per tablet
- store at room temperature. Avoid excessive heat.
- Alka-Seltzer Heartburn in water contains the antacid sodium citrate as the principal active ingredient
Inactive ingredients
acesulfame potassium, aspartame, flavors, magnesium stearate, mannitol
Questions or comments?
1-800-986-0369 (Mon – Fri 9AM – 5PM EST) or www.alkaseltzer.com
PRINCIPAL DISPLAY PANEL - 36 Tablets Carton
Alka-
Seltzer®
ANTACID MEDICINE
FAST, COOLING RELIEF OF:
&Heartburn
Acid Indigestion
LEMON
LIME
HEARTBURN
36 EFFERVESCENT
TABLETS


Visit ICGC Data Portal to make use the UCSC Xena Chome extension
Visit UCSC Xena for more information about UCSC Xena functional genomics visualization platform.


DOWN TO YOU (2000) by JOHN SYLVA of OFCS (www.ofcs.org)
Rating: C+
Freddie Prinze Jr. in a film directed at teenagers: This is usually a statement that crushes any film true to it, but with "Down To You," I can't make the inference of his films being so bad quite so easily anymore. Kris Isacsson's surprisingly respectable debut in directing and writing somewhat successfully captures the complexity and hardship in relationships that touching dramas such as 1999's "The Story of Us" did, rather than creating an extended metaphor of teenager's lives that films such as "She's All That" did. "Down to You" is much more mature a film than one would imagine, as its ensemble of teenage oriented actors (Freddie Prinze Jr., Julia Stiles, Shawn Hatosy) would imply that this is just another, run of the mill, teeny bopper fest of proms, drugs, and fighting, but Isacsson proves these stereotyped predictions wrong.
Set in college, "Down to You" focuses on Al Connelly (Freddie Prinze Jr., who breaks out from the norm with an above average performance), and the relationship that would forever change his life, that being with Imogen (Julia Stiles), an aspiring artist, and the twists and turns and complete nose dives taken throughout. The film unfolds in flashback (Hey! A real literary tactic!), as we see Al meet Imogen at a popular college bar/hangout, where their relationship will blossom. The two seem to instantly fall in love, followed by the usual arguments that sink relationships in romantic comedies, and also the peaks that show the viewer why they're together in the first place.
The cast as a whole comes off with much positive energy and appeal, even if many of the actors have resumes that couldn't impress anyone over the age of 16. Freddie Prinze Jr. is somewhat mediocre as usual, but this time around it's a higher level of mediocrity, a level that can almost receive a positive grade. As his energetic partner, Julia Stiles gleams in her natural performance that is captivating and real. Stiles adds a level of realism to "Down to You" that hardly any so-called teen flicks can capture, as rather than a self absorbed, snotty little brat, Imogen is a caring, realistic young adult.
It's apparent when Isacsson was writing "Down to You" for the sake of making money, and when he was writing for the sake of making a good movie, as one scene will hint at "teen" films such as "She's All That" or "Drive Me Crazy," but the next will hint at the dramatic intensity of films such as "Titanic." If the script was written for the sole purpose of quality over box office gross, "Down to You" could have been a much stronger film with the maturity level of adult relationship movies. From a teen's point of view, "Down to You" is probably the best thing since their beloved Backstreet Boys, as the emotionally charged film is surprisingly high quality for the type of film it is trying to be.
Sure, people will automatically label "Down to You" a "teen" film, but some of the vibes that come off of the film tell me that this is actually a film with much higher ambitions, one that could've been more appealing to adults than teens. The film comes close to pulling off a complete turn around for the "teen" genre, but Isacsson throws in too many cliched scenes that fall flat. Nonetheless, "Down to You" is a highly entertaining, enchanting film, even if it is terribly uneven, bouncing between a mature relationship film and an immature teen flick.
The Bottom Line: Surprisingly well-made film with a gem of a performance from Julia Stiles.
Film reviewed April 17th, 2000.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


OML SA , 2nd Floor, Building 3, Grayston Drive, Sandton, Jo,burg, South Africa. Dear, I am Mr.Smith Anderso the Head of Audit Department, African Developemnet Bank,south Africa And for reasons which will become obvious to you as you read on, I obtained your address particulars from an Internet address listing. Please exercise some patience and read through my message. I have a very urgent and confidential business proposition for you. On June 6th 1999, a Crude Oil Contractor with the Kuwait National Petroleum Corporation, Engr. Ahmed Youseff Mustafa , a national of kuwait, made a numbered time ( fixed) deposit for 12 calendar months, value $36MUSD (Thirty six million United States dollars only)in my branch. On maturity, we sent a routine notification to his forwarding address but got no reply. After a month, we sent a reminder and finally, his contract employers, the Kuwait National Petroleum Corporation wrote to inform us that Engr. A Y Mustafa died on an automobile accident; that he died without making a WILL, and all attempts to trace his next of kin through the kuwait embassy were fruitless. I therefore made further investigations and discovered that Mr. Mustafa had actively opposed the Government of his country kuwait, and was consequently driven into exile. My proposal therefore is that, I am looking for a foreigner who will stand in as the next of kin to Mr. Mustafa. It is not necessary to be a blood relation to Mr. Mustafa, nor have the same name. It is not also necessary to come from the same Country. I have worked out the modalities to achieve my aim of appointing a next of kin, and therefore also by this means we transfer this money total $36MUSD abroad for us to share. No one will ever come forward to claim it now, and according to South African law,after 9 years, the money will automatically revert to the Government Treasury if the Account owner is a foreigner, and certified dead, and there is no valid claim. This indeed, is the situation. The money transfer paperwork itself will include a certificate of origin so that the receiving bank does not ask questions or refuse the money as money laundering. Also, the paperwork will include proper certification that the funds being transferred are from non criminal sources. In short this will be a proper and legal money transfer and there is no risk!. Once you indicate your interest I will initiate the processing of the transfer and in about 14 working days the money total $36MUSD will be in your nominated bank account for us to share in the ratio of 70% for me and 30% for you. Looking forward to your urgent reply. Reply to this<EMAIL_ADDRESS>Yours truly, Mr.Smith Anderso.


Live Free Or Die!
`Prev `__
L
`Next `__
--------------
**Live Free Or Die!**: imp.
1. The state motto of New Hampshire, which appears on that state's
automobile license plates.
2. A slogan associated with Unix in the romantic days when Unix
aficionados saw themselves as a tiny, beleaguered underground tilting
against the windmills of industry. The “free” referred specifically to
freedom from the `*fascist* <../F/fascist.html>`__ design philosophies
and crufty misfeatures common on competing operating systems. Armando
Stettner, one of the early Unix developers, used to give out fake
license plates bearing this motto under a large Unix, all in New
Hampshire colors of green and white. These are now valued collector's
items. In 1994 `*DEC* <../D/DEC.html>`__ put an inferior imitation of
these in circulation with a red corporate logo added. Compaq (half of
which was once DEC) continued the practice.
|image0|
Armando Stettner's original Unix license plate.
--------------
+------------------------------+----------------------------+-----------------------------+
| `Prev `__ | `Up <../L.html>`__ | `Next `__ |
+------------------------------+----------------------------+-----------------------------+
| live data | `Home <../index.html>`__ | livelock |
+------------------------------+----------------------------+-----------------------------+
.. |image0| image:: ../graphics/licenseplate.jpg


Last name:
Email:
Tell us about your project / engagement :
What is the timeline for your project / engagement? :
Tell us about your budget : Please select $25,000 or less $25,000 - $50,000 $$50,000 - $100,000 $100,000 +


Karim Tarek
Freelance web developer
“Model–View–Controller (MVC) is a software architectural pattern for implementing user interfaces on computers.”
“It divides a given application into three interconnected parts in order to separate internal representations of information from the ways that information is presented to and accepted from the user.”
“The MVC design pattern decouples these major components allowing for efficient code reuse and parallel development.”
“For every Rails project, there is exactly two outcomes. Either someone in the team’s an experienced architect and leads the software to an advanced design with service layer, view components, maybe forms, and so on. Or, and that’s the classic way, the project strictly follows the Rails Way and will end up as a code disaster.”
Is a thin layer on top of Rails and brings a high-level application architecture, decent encapsulation and a new code structure. Here are the main features.
Has a set of Gems to help with implementing these patterns
In theory plays nice will all Ruby web frameworks
Finally know where to put your code!
Technically, an operation embraces and orchestrates all business logic between the controller dispatch and the persistence layer.
class AccountsController < ApplicationController
def new
@account = Account.new
end
def create
@account = Account.new(milestone_params)
@account.user = current_user
if @account.save
redirect_to @account, notice: 'Account created!'
else
render :new
end
end
private
def account_params
params.require(:account).permit(:name, :type)
end
end
/app/controllers/accounts_controller.rb
class Account < ActiveRecord::Base
belongs_to :user
validates_presence_of :name, :user
end
/app/models/account.rb
New Account
<%= form_for(@account) do |f| %>
<%= f.label :name %>
<%= f.text_field :name %>
<%= f.label :type %>
<%= f.text_field :type %>
<%= f.submit %>
<% end %>
<%= link_to 'Back', things_path %>
/app/views/accounts/new.html.erb
class AccountController < ApplicationController
def new
form Account::Create
end
def create
run Account::Create do |op|
return redirect_to op.model, notice: 'Account created!'
end
render :new
end
private
def process_params!
params.merge!(current_user: current_user)
end
end
/app/controllers/accounts_controller.rb
class Account < ActiveRecord::Base
belongs_to :user
end
/app/models/account.rb
class Account < ActiveRecord::Base
class Create < Trailblazer::Operation
include Model
include Trailblazer::Operation::Policy
model Account, :create
policy Account::Policy, :create?
contract do
property :name
property :user
property :type
validates :name, presence: true
validates :user, presence: true
end
def process(params)
@model.user = params[:current_user]
validate(params[:account]) do |f|
f.save
end
end
end
end
/app/concepts/account/operation/create.rb
class Account::Policy
attr_reader :user, :account
def initializer(user, account)
@user, @account = user, account
end
def create?
user.present?
end
end
/app/concepts/account/policy.rb
New Account
<%= form_for(@form) do |f| %>
<%= f.label :name %>
<%= f.text_field :name %>
<%= f.label :type %>
<%= f.text_field :type %>
<%= f.submit %>
<% end %>
<%= link_to 'Back', things_path %>
/app/views/accounts/new.html.erb


--- layout: post title: Why is my machine contacting all-systems.mcast.net? date: 2015-11-16 00:03:16.000000000 +00:00 type: post published: true status: publish categories: [] tags: [] meta: _wpcom_is_markdown: '1' _edit_last: '1' _syntaxhighlighter_encoded: '1' _publicize_twitter_user: "@dvdsmpsn" _wpas_done_all: '1' _pingme: '1' _encloseme: '1' author: David Simpson excerpt_separator: ---
I've been looking at the network traffic and noticed a lot of calls from one machine to an address I'd never heard of: all-systems.mcast.net
Information on this seemed somewhat sketchy until I spotted this page on Multicast Addresses
ALL-SYSTEMS.MCAST.NET
<IP_ADDRESS> All systems on the local subnet.
What? All the machines on my local network? Really?
Pinging it confirmed this:
$ ping all-systems.mcast.net
PING all-systems.mcast.net (<IP_ADDRESS>): 56 data bytes
64 bytes from <IP_ADDRESS>: icmp_seq=0 ttl=64 time=0.103 ms
64 bytes from <IP_ADDRESS>: icmp_seq=0 ttl=64 time=14.788 ms
64 bytes from <IP_ADDRESS>: icmp_seq=0 ttl=64 time=239.376 ms
64 bytes from <IP_ADDRESS>: icmp_seq=0 ttl=64 time=256.191 ms
...
64 bytes from <IP_ADDRESS>: icmp_seq=1 ttl=64 time=50.762 ms
The machine accessing all-systems.mcast.net
is running a DLNA server, so it appears to be broadcasting its presence to all the machines on the local network. Panic over.


{% if page.headline %}{{ page.headline }}{% else %}{{ page.title }}{% endif %}
{{ content }}
{% assign featured_members = site.data.members | where_exp: "member", "member.featured" %}
{% assign members = site.data.members | where_exp: "member", "member.featured != true" %}
{% for member in featured_members %}
{% endfor %}
{% if member.avatar %}
{% endif %}
{{ member.fullname }}
{% if member.affiliation %}{% if member.position %} {{ member.position }} at {% endif %} {{ member.affiliation }}
{% endif %}
FOSS Responders committees:
{{ member.committees | join: ", " }}.
{{ member.excerpt }}
{% for member in members %}
{% endfor %}
{% if member.avatar %}
{% endif %}
{{ member.fullname }}
{% if member.affiliation %}
{{ member.position }}
{{ member.affiliation }}
Committees:
{{ member.committees | join: ", " }}.


Lorem ipsum dolor sit amet, consectetur adipiscing elit. Phasellus nec iaculis mauris.
@bulmaio. #css #responsive
prosocial.com
Use social media like a pro!
prosocial brings you the tools the pros use for way less!
20k
orders processed
780k
likes given away
6hr
process time
Component
Component
Component
Component
Component
Component


Group of functions for spatial smoothing using cubic splines and variogram maximum likelihood estimation. Also allow the inclusion of linear parametric terms and change-points for segmented smoothing splines models.
| Version: | 1.0-2 |
| Depends: | R (≥ 2.10), stats, Matrix, RandomFields, interp |
| Imports: | geoR, methods, rgl, lattice, mvtnorm, MASS, graphics, grDevices |
| Enhances: | fields |
| Published: | 2017-06-30 |
| Author: | Mario A. Martínez Araya [aut,cre] and Jianxin Pan [ths] |
| Maintainer: | Mario A. Martínez Araya <mma at mariomartinezaraya.com> |
| License: | GPL-2 | GPL-3 [expanded from: GPL (≥ 2)] |
| NeedsCompilation: | no |
| CRAN checks: | scpm results |
| Reference manual: | scpm.pdf |
| Package source: | scpm_1.0-2.tar.gz |
| Windows binaries: | r-devel: scpm_1.0-2.zip, r-release: scpm_1.0-2.zip, r-oldrel: scpm_1.0-2.zip |
| OS X binaries: | r-release: scpm_1.0-2.tgz, r-oldrel: scpm_1.0-2.tgz |
| Old sources: | scpm archive |
Please use the canonical form https://CRAN.R-project.org/package=scpm to link to this page.


w3Capsule
Home
Link
Official Website
w3Capsule
w3Capsule with Bootstrap
w3Capsule with UIkit
CodeIgniter with Bootstrap
CodeIgniter with UIkit
Laravel with Bootstrap
Laravel with UIkit
It works!


--- layout: post status: publish published: true title: Wombat author: display_name: Tomas Restrepo login: tomasr email<EMAIL_ADDRESS>url: http://winterdom.com/ author_login: tomasr author_email<EMAIL_ADDRESS>author_url: http://winterdom.com/ wordpress_id: 875 wordpress_url: http://winterdom.com/2007/07/wombat date: '2007-07-10 19:16:36 +0000' date_gmt: '2007-07-10 19:16:36 +0000' categories: - Vim tags: [] comments: - id: 590 author: Damien Guard author_email<EMAIL_ADDRESS>author_url: http://www.damieng.com/blog/ date: '2007-07-11 02:59:24 +0000' date_gmt: '2007-07-11 02:59:24 +0000' content: | You can do italics with Visual Studio... it,s just a bit of a hack http://www.damieng.com/blog/archive/2007/07/11/italic-syntax-highlighting-in-visual-studio-2005.aspx [)amien - id: 591 author: Serdar Kilic author_email<EMAIL_ADDRESS>author_url: http://weblog.kilic.net/ date: '2007-07-13 03:23:51 +0000' date_gmt: '2007-07-13 03:23:51 +0000' content: | What are the two apps whose icons appear to the left of the messenger icon in the notification area? - id: 592 author: Tomas Restrepo author_email<EMAIL_ADDRESS>author_url: http://www.winterdom.com/weblog/ date: '2007-07-13 05:28:11 +0000' date_gmt: '2007-07-13 05:28:11 +0000' content: | Serdar: Those are Outlook 2007 and Foobar2000 (http://www.foobar2000.org/). ---
I discovered a few days ago another great color scheme I ran into for Vim: Wombat, by Lars H. Nielsen.
I've been using this one for a few days now and I'm loving it, so for now it will be replacing moria, my previous favorite. Unfortunately, I don't think this one would suit itself too much to trying to clone in Visual Studio (particularly since even in this day and age the VS editor doesn't support italics!).


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Balance
It is a visual interpretation of gravity in the design.
Large, dense elements appear to be heavier while smaller elements appear to be lighter.
You can balance designs in three ways: symmetrical balance.
A home's occupants may be a single individual, a family, household, or several families in a tribe.
Occupants may be part of other groups, such as nursing home residents or children in an orphanage. Domesticated or tamed animals may live alongside human occupants for various reasons.
Harmony
Harmony can be described as sameness, the belonging of one thing with another. The
repetition of design elements like colour, texture, shape, and form is one of the easiest
ways to achieve harmony to create a composition.


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Spark Release 0.8.1
Apache Spark 0.8.1 is a maintenance and performance release for the Scala 2.9 version of Spark. It also adds several new features, such as standalone mode high availability, that will appear in Spark 0.9 but developers wanted to have in Scala 2.9. Contributions to 0.8.1 came from 41 developers.
YARN 2.2 Support
Support has been added for running Spark on YARN 2.2 and newer. Due to a change in the YARN API between previous versions and 2.2+, this was not supported in Spark 0.8.0. See the YARN documentation for specific instructions on how to build Spark for YARN 2.2+. We’ve also included a pre-compiled binary for YARN 2.2.
High Availability Mode for Standalone Cluster Manager
The standalone cluster manager now has a high availability (H/A) mode which can tolerate master failures. This is particularly useful for long-running applications such as streaming jobs and the shark server, where the scheduler master previously represented a single point of failure. Instructions for deploying H/A mode are included in the documentation. The current implementation uses Zookeeper for coordination.
This release adds several performance optimizations:
- Optimized hashtables for shuffle data - reduces memory and CPU consumption
- Efficient encoding for JobConfs - improves latency for stages reading large numbers of blocks from HDFS, S3, and HBase
- Shuffle file consolidation (off by default) - reduces the number of files created in large shuffles for better filesystem performance. This change works best on filesystems newer than ext3 (we recommend ext4 or XFS), and it will be the default in Spark 0.9, but we’ve left it off by default for compatibility. We recommend users turn this on unless they are using ext3 by setting
spark.shuffle.consolidateFiles
to “true”.
- Torrent broadcast (off by default) - a faster broadcast implementation for large objects.
- Support for fetching large result sets - allows tasks to return large results without tuning Akka buffer sizes.
MLlib Improvements
- Added a new variant of Alternating Least Squares matrix factorization for implicit feedback.
Python Improvements
- It is now possible to set Spark config properties directly from Python
- Python now supports sort operations
- Accumulators now have an explicitly named
add
method
New Operators and Usability Improvements
local://
URI’s - allows users to specify files already present on slaves as dependencies
- A new “result fetching” state has been added to the UI
- New Spark Streaming operators:
transformWith
, leftInnerJoin
, rightOuterJoin
- New Spark operators:
repartition
- You can now run Spark applications as a different user in standalone and Mesos modes
Notable Bug Fixes
- Fixed an edge case that could cause data loss for Kafka ingest to Spark Streaming
- Fix for scheduler hanging after certain task failures
- Fixed a packaging bug that prevented log output during streaming examples
- Sorting order has been fixed in certain UI fields
Credits
- Michael Armbrust – build fix
- Pierre Borckmans – typo fix in documentation
- Evan Chan –
local://
scheme for dependency jars
- Ewen Cheslack-Postava –
add
method for python accumulators, support for setting config properties in python
- Mosharaf Chowdhury – optimized broadcast implementation
- Frank Dai – documentation fix
- Aaron Davidson – shuffle file consolidation, H/A mode for standalone scheduler, cleaned up representation of block IDs, several improvements and bug fixes
- Tathagata Das – new streaming operators, fix for kafka concurrency bug
- Ankur Dave – support for pausing spot clusters on EC2
- Harvey Feng – optimization to JobConf broadcasts, bug fixes, YARN 2.2 build
- Ali Ghodsi – YARN 2.2 build
- Thomas Graves – Spark YARN integration including secure HDFS access over YARN
- Li Guoqiang – fix for Maven build
- Stephen Haberman – bug fix
- Haidar Hadi – documentation fix
- Nathan Howell – bug fix relating to YARN
- Holden Karau – Java version of
mapPartitionsWithIndex
- Du Li – bug fix in make-distribution.sh
- Raymond Liu – work on YARN 2.2 build
- Xi Liu – bug fix and code clean-up
- David McCauley – bug fix in standalone mode JSON output
- Michael (wannabeast) – bug fix in memory store
- Fabrizio Milo – typos in documentation, clean-up in DAGScheduler, typo in scaladoc
- Mridul Muralidharan – fixes to metadata cleaner and speculative execution
- Sundeep Narravula – build fix, bug fixes in scheduler and tests, code clean-up
- Kay Ousterhout – optimized result fetching, new information in UI, scheduler clean-up and bug fixes
- Nick Pentreath – implicit feedback variant of ALS algorithm
- Imran Rashid – improvement to executor launch
- Ahir Reddy – spark support for SIMR
- Josh Rosen – memory use optimization, clean up of BlockManager code, Java and Python clean-up/fixes
- Henry Saputra – build fix
- Jerry Shao – refactoring of fair scheduler, support for running Spark as a specific user, bug fix
- Mingfei Shi – documentation for JobLogger
- Andre Schumacher – sortByKey in PySpark and associated changes
- Karthik Tunga – bug fix in launch script
- Patrick Wendell –
repartition
operator, shuffle write metrics, various fixes and release management
- Neal Wiggins – import clean-up, documentation fixes
- Andrew Xia – bug fix in UI
- Reynold Xin – task killing, support for setting job properties in Spark shell, logging improvements, Kryo improvements, several bug fixes
- Matei Zaharia – optimized hashmap for shuffle data, PySpark documentation, optimizations to Kryo serializer
- Wu Zeming – bug fix in executors UI
Thanks to everyone who contributed!
Spark News Archive


How was it to wireframe and create an HTML page with a pair?
It was a good experience to talk about the material with someone else rather than just reading it. I can see how teamwork can be crucial because we were able to give and take good ideas.
Did you find wireframing to be helpful to your development process?
Of course. I think that wireframing is an absolutely essential part of the process.
What did you and your pair decide made a good wireframe?
We decided to go with a simple yet effective layout.
What new semantic elements did you learn about (if any)?
Everything is new!